often typeset as DÅÅTH, is a metal band from Atlanta, Georgia.
Their music incorporates styles such as thrash metal, death metal,
industrial metal, and progressive metal. DÅÅTH was formed by Eyal
Levi and Mike Kameron, who had been playing in bands since they were in
middle school. DÅÅTH's first album ‘Futility’, was self-released
in 2004. Their Roadrunner Records debut, ‘The Hinderers’, was released
in 2007 followed by ‘The Consealers’ in 2009.
The dueling guitar virtuosity of Emil Werstler and Eyal Levi harkens
many comparisons to Mustaine and Friedman, all the while the acclaimed
Kevin Talley (ex-Chimaira, ex-Dying Fetus, ex Misery Index) pounds away
with fury and precision and bassist Jeremy Creamer provides a powerful
groove. The band’s current line-up is completed by singer Sean Z who
performs an extraordinary job on ‘The Concealers’ and leaves no doubt
that he fits perfectly to the band’s uncompromising, dynamic sound.
The group’s highly anticipated third full-length album is self-titled
and was released recently all across Europe. The new record is a
face-melting masterpiece that was co-produced by the renowned Mark Lewis
(Trivium, Devildriver) and Eyal Levi (guitars).
So it seems there is much to talk about, Metal-Experience got the chance
to talk to Sean Z. (Vocals) and Eyal Levi (Guitar). Here
you can read what they had to say.
A couple of years ago we talked about your previous album
‘The Concealers’, can you give us a little update of what’s been
happening since that release?
We toured. Emil and I made ’Avalanche of worms’. DAATH made a new album.
We’re about to tour again. We’ve been very very busy.
Touring and writing for sure
What was the songwriting process like for
‘Dååth’? Do people come in with just a riff, or complete songs? How much
time did you spend on creating the songs?
Songs get started either by jamming together, alone, or in groups. Demos
are recorded at my studio and then it’s on. We go nuts on the songs and
ourselves until we feel like they’re done. We can spend anywhere from a
week to 6 months working on a song. It all just depends. I think that
“Manufactured Insomnia” was written in 2 days while Arch Enemy
Misanthrope took an entire 6 months. It just depends on what the song is
Which approach did you choose to create
this album, did you go for a more raw exposition.. or something more
reminiscent of your previous other works, or something all together
Our focus on this record was capturing the most honest record possible
in terms of sound and expression. We disregarded everything we’ve ever
done as well as the outside world.
It Felt like we just went for it. Kill each other, pushed to the edge,
knives at the throat, but somehow relaxed and yet confined. I guess that
would be chaotic organization. Nothing previous I have done can compare.
I spent a lot of time vocally on this album. Almost 2 full months.
How can we imagine you work on new songs,
what's the typical writing process like for Dååth?
Don’t try to imagine it. You won’t imagine it correctly. It’s one of
those things that even if we described it in detail, nobody would
understand because they didn’t go through it. We don’t have a typical
writing process. We just have standards and goals.
Like next album new or this new album, there’s really no way to tell.
Its just what experiences have brought us to this current time and
place; and that’s what the songs sound like, now or then. Give it 2
years and ask us again. The answer will be different.
What were the goals you had in mind when
you started to record ‘Dååth’, any elements you definitely wanted to
include on the album?
We wanted this record to sound like us. Unrestrained and as direct as
possible. There’s so many elements that go into making a record. I’m not
going to write a list. Just listen to the record! We accomplished our
goals. It sounds like us. It sounds real. It’s intense as fuck. The
playing is over the top. The vocals are brutally honest.
I personally was looking for a more complete vocal record. Something
more than just go lay down two tracks and some doubles and we’re done.
Thanks to Eyal we spent some grueling morning all nighters screaming,
testing mics, trying new things, and just getting fucking crazy at 5am.
Could you describe the implications of the
title ‘Dååth’, can we see this as a new beginning, or what?
Every time you release a new album and start on a new promotional cycle
for it, it is in effect, a new beginning. We self-titled this because
it’s the first record where nobody outside the band got in our way. We
totally destroyed every obstacle in our path and felt it only
appropriate to self-title. But all in all this is not a new beginning.
This is a continuation of a story that involves passion, sacrifice, and
years of going to battle for our vision.
Where do you get your inspiration from? Can
you tell me a little more about the lyrics?
The inspiration came from a life long of holding back all these lyrics
for something worth a shit. I have had these ideas in my head for years.
Some pertain to recent events, but they’re mostly a collection of shit
I’ve experienced, in person or through someone else.
Did anything in
particular inspire your lyrics?
Sean : Again,
real life experiences, drug overdoses friends have died from, horrible
disasters that affect the whole world, or things I have personally
witnessed. They are my form of expressing all the random shit that goes
on in my head.
How important is it
to you that people pay attention to the lyrics apart from listening to
Sean : The music on this record is complete as a whole, without
lyrics i’ts just another song, and without music it’s just another
vocalist. This record needs to be enjoyed as a complete package.
Definitely pay attention to the lyrics. Learn them, understand them, but
don’t let that take away from anything else.
Can you give us a little background
information on the songs, is there a story behind them?
There’s a story behind them all, but to sit and analyze every one would
take forever. I will say this: right before I started to record „Exit
Plan“ my laptop dropped from 6 feet up onto the ground and since I was
using my laptop as a notepad I was worried. Sure enough right before I
opened my mouth to scream the laptop cracked on the ground and I lost
everything. I was so fucking pissed! I lost all my lyrics most which
weren’t backed up. So instead of just giving up I recorded the song from
memory and if you notice, the screams are the most intense on that song
out of any other track. Especially the chorus. I was just so pissed I
lost all those lyrics.
How did the recording process proceed, did
you work differently this time than you did with your previous works?
How much time did you spend in the studio?
Technically we spent 2 1/2 months in the studio but since we did all of
our pre production in the same studio where we did the real production,
I would just say the album took us six months to create from start to
The album was co-produced by Mark Lewis and
yourself. What are the main differences between producing an album by
Every time we make an album we get closer and closer to being able to do
things 100 percent on our own. That’s our goal. Taking a more active
role in the production means that our vision is that much less tampered
Can you tell us a little about working with
producer Mark Lewis?
Mark is a recording ninja and has a sense of humor that’s about as sick
and offensive as ours. He’s an old friend of ours and we have a long
working history. That’s why we hired him. We didn’t want a producer who
would become another band member. We wanted someone who would be able to
help translate our vision for the record to tape while surviving for a
few months on our turf.
In which elements/songs on the new album
can one clearly hear Mark Lewis’ vision and ideas?
We hired Mark to fulfill our vision.
How hard was it to come up with a follow-up
for ‘The Concealers’ and what do you think the are the main differences
between that album and the new one?
Nothing great comes easy. Every time you make a new record it’s hard,
hard work. Coming up with a follow up to ‚The Concealers’ was easy
because we didn’t even consider that record. Making the record itself
was very difficult work. I’d say the main differences between the 2
records is in the overall approach. ‚Concealers’ was a very structured,
very perfect kind of record where a methodical and almost cold approach
was applied. Of course we were full of passion while making it but we
were aiming for a very cold and calculated sound. On this one we focused
more on capturing the intensity of the moment and really expressing some
deep feelings and intense atmospheres.
With several albums under your belt, how
far has Dååth surpassed your original dreams and what would you say is
the most rewarding part of being in the band?
There’s a few ways to look at it. Both these viewpoints inhabit my
psyche at all times that I think about “where things are.” First, the
fact that we’re still in the game, growing, and getting better is
amazing to me. We’re seeing bands that were around when we first came on
the scene just start falling apart. We’ve been through our ups and downs
and powered through via sheer determination and we’re still standing.
That makes me feel proud. Very proud. Have we surpassed the original
dreams? No not yet and probably not ever.
Which song is your
favorite one to play live? And which song do you find the most
challenging one to play live?
Sean : Favorite is „Sharpen the Blades“, and the hardest song for
me I’d say „From the Blind“.
What have been the highlights and low
points throughout your career?
There hasn’t been a single high that hasn’t led to a low or a low that’s
not led to a high so all in all they’re all part of the same thing.
- What he said
Could you respond to
the following terms in just one word or sentence:
Thrash : Old
Internet : Necesary
Religion : Evil
The Netherlands : Great
Thrash: : Metallica
Underground : Apocalyptic Visions
Internet: : Amazing
Religion : Necessary
Politics : Boring
The Netherlands : Fantastic
United States : Home sweet home
What is your opinion on the metal scene
these days? What do you think of the overload of bands at the moment and
is there anything missing in the scene?
I was talking about this the other day with a close friend of mine. We
were talking about the Crotchduster record and how that wouldn’t be
possible nowadays like it was when it came out. Reason being is that you
can’t single out too many bands to make fun of anymore because so many
sound identical. You try to copy a riff and it could be a riff that 38
bands used. Maybe the next step would be to make fun of the style
though. Who knows. Either way, I feel like the metal scene is
oversaturated with copy cat bands and producers who can barely play what
they trick you into listening to. In a way it’s bad because it numbs
people, but in another way it’s great because if you stand out you’ll
stand out even more against the sea of unoriginal music.
What does the future hold for Dååth, any
touring plans? Where do you see your musical direction going for the
Man if I could tell the future I’d be world famous for that by now. Who
knows what the future holds? Or our next musical direction for that
matter. We’ll know those things as they happen. Right now it’s planned
that we will hit Europe with Fear Factory and High on Fire this
December. That should be incredible!
I’d like to ask you a few questions about
your instrumental project Levi/Werstler if that’s ok. Why did you and
Emil decide to create this instrumental record?
We were approached by Magna Carta Records to do the record. They told us
to pick our lineup and gave us a realistic budget. Since a guitar album
is something both of us wanted to do anyhow this seemed like the perfect
Did you work and write differently for this
album that you did for Dååth?
Only in that the lineup was different and the situation was different.
These aren’t songs, they’re instrumental pieces. Sean Reinert and Kevin
Talley are two completely different beasts. Besides the fact that it’s
Emil and myself, it’s completely different.
How do you think the overall experience of
making this album inspired or influenced the new Dååth album?
’Avalanche Of Worms’ is the first time that Emil and I got to really go
over the top artistically in the studio. There were no boundaries and no
limits besides time. The attitude we adopted on this record we
translated over to DAATH.
Thanks for your time,
Current members :
Sean Z. - Vocals
Eyal Levi – Guitar
Jeremy Creamer – Bass Guitar
Emil Werstler – Guitar
Kevin Talley – Drums
Former members :
Sean Farber - vocals
Mike Kameron - keyboard, synth, additional vocals
Matthew Ellis - drums
(2004) - Futility (Self-released)
(2007) - The Hinderers
(2007) - Dead on the Dancefloor (EP)
(2009) - The Concealers
(2010) - Daath